Anti-social behaviour in theatres ‘at tipping point’

The Broadcasting, Entertainment, Communications and Theatre Union (BECTU) is urging performing arts venues to support its new UK Safer Theatres Charter following an increase in anti-social behaviour from theatre audiences.

The charter forms part of BECTU’s new campaign, Anything Doesn’t Go, which follows a recent survey of over 1,500 theatre workers that found 80% of respondents had experienced bullying, violence, intimidation, harassment or abuse while at work, with nearly half saying they had considered leaving the sector as a result.

The findings come as anecdotal instances of audience’s anti-social behaviour at West End musicals, theatres and other live performing arts venues is on the rise. Over the Bank Holiday Easter weekend, a performance of The Bodyguard musical at Manchester’s Palace Theatre was cut short after audience members disrupted the performance by rowdy singing and refusing to stay seated.

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Testimonies from theatre workers shared by BECTU detail examples of workers dealing with drunk and violent audience members, instances of threats and physical assault, and abuse due to a worker’s race, gender and/or sexual orientation.

Evidence suggests anti-social behaviour in theatres is one the rise post-pandemic, with many instances linked to audiences drinking excessively during or before performances.

BECTU Head Philippa Childs says it is “critical we all stand together against this sort of behaviour”.

“We’re not just talking here about someone singing a bit too enthusiastically during a performance or playing on their mobile phone,” she explained.

“Much of the behaviour our survey uncovered is truly appalling – slurs, physical assault, defacing venues, racially-motivated aggression. No one should have to deal with this at work.”

“People are coming to work fearing for their safety, facing regular abuse and struggling with the mental toll this behaviour can take, often with insufficient training or support.”

Zero-tolerance

BECTU’s charter calls on venue management to take a more proactive, zero-tolerance approach to tackling anti-social behaviour.

It calls upon venues to publish “consistent and prominent” announcements prior to shows stressing the high standards of behaviour expected from audiences. It also calls for recognition that high levels of alcohol consumption can create an unsafe working environment.

The charter suggests staff should be given sufficient training and resources to apply policies on admission, unacceptable behaviour, alcohol sales and consumption.

This may include the use of CCTV or staff bodycams to gather evidence that may be passed to the police where appropriate, it adds.

BECTU’s charter has received over 220 signatures thus far.

What can be done?

If incidents of anti-social behaviour continue to rise, theatre venues may be forced to adopt their own measures to combat instances of anti-social behaviour.

Yesterday, actor Christopher Biggins told the Evening Standard venues should stop selling alcohol to rowdy audiences. Other options include tempering ad campaigns that might encourage bad behaviour, which was adopted by Ambassador Theatre Group, owner of Manchester’s Palace Theatre, in February.

Whatever methods venues decide to take, the incident at the Palace Theatre, which saw two audience members ejected by the police, has seen the issue of anti-social behaviour in theatres gain widespread attention.

The fallout led to organisers of The Bodyguard asking audience members to remain quiet in future performances. TV presenters Alison Hammond, Dermot O’Leary and Vanessa Fritz were criticised for how they handled discussing the incident on ITV’s This Morning on Wednesday (5 April). Although Hammond has since apologised, the show received 66 Ofcom complaints.

“Alison thank you for your apology, but I would just like to say you have no idea what it is really like for those performers in the shows where the songs are popular hits and certain members of the audience feel entitled to join in,” former Strictly Come Dancing judge Arlene Philips said.

O’Leary defended his on-air response online, stating he had stood up for performers, which in turn drew further criticism.

“Dermot, if I've paid £80+ for a mediocre and uncomfortable seat in a West End stage to see an artist or ensemble perform, I don't expect Brenda from Sheffield to be belting it out next to me, so 'too loudly' isn't good enough and this whole statement reeks!” drag queen Diamond Pearl tweeted.

Former Britain's Got Talent winner George Sampson added: “Weird take, and a disappointing read if I’m honest. People, don’t sing at all, at ANY volume when you’re watching musicals, unless it’s been okayed by the production. You’re there to be performed for, not performed with.”